The film industry loses millions of dollars in revenue due to the illegal copying and reselling of movies. Movie pirates illegally copy movies by capturing projected images with a video recording device, such as a camcorder. Camcorders can be used in a dark movie theater to illegally record both the projected image and the corresponding audio. The illegal copy of the image, recorded on digital media such as mini-DVs, DVDs, hard disks, or even videotape, can be repeatedly copied and sold to the public. Movie pirates often package these illegal copies in a manner to cause a purchaser to believe that a legitimate copy of the movie has been purchased.
“Camcorder jamming” techniques attempt to stop piracy at its source in movie theaters. Camcorder jamming techniques fall into two main categories: IR blasting and optical modulation. IR blasting techniques transmit infrared (IR) signals in the theater to disable a camcorder's controls or to flood the camcorder's image sensor with IR radiation to destroy the quality of the captured image. Unfortunately, film pirates can defeat IR blasting techniques by covering the IR receiver or lens of a camcorder with IR-blocking filters. Optical modulation techniques change the spatial and/or temporal patterns of displayed light in a way that is unnoticed by viewers but intentionally beats with the spatio-temporal sampling structure of camcorders.
Traditional optical modulation techniques depend upon the type of display employed in the projector. These displays are optimized to work with traditional low frequency 24 frames per second (fps) projection rate. This frame rate is high enough to induce the sensation of fluid motion in the human visual system, but is too low to prevent noticeable flicker in the human visual system (HVS). 24 Hz is below the “critical fusion frequency” of the HVS. The critical fusion frequency is the flashing rate—for most people about 40 to 50 flashes per second—above which the HVS perceives the light to be on steadily. The eye ceases to notice individual flashes but just sees a steady average value of those flashes. Displays that operate like traditional analog film projectors, which are also known as “tonal” displays, overcome this critical fusion frequency problem by “double shuttering” or “triple shuttering” each film frame so that the flicker frequency is higher than the critical fusion frequency. As a side effect, this technique also introduces beats into traditional camcorders that operate on the 30 fps NTSC/25 fps PAL television standards. However, because of its low and fixed temporal frequency, double/triple shutter technology is ineffective at universal camcorder jamming because it only induces fixed-frequency beats for certain camcorder frame rates. Notably, camcorders are now available that have a 24 fps capture mode, which would filter out disturbances that would be intentionally introduced from frame to frame.
Film projector displays are tonal displays in which the intensity during the frame period during which the light is on is proportional to the actual pixel luminance value. At every point in time during which a shutter is open, the pixel intensity will be a certain fixed value. It is very low for dark areas and it is very high for bright areas. An exemplary digital cinema display technology which operates on the tonal display principle is Silicon X-tal Reflection Displays (SXRD) and Digital Direct Drive Image Light Amplifiers (D-ILA). These displays are tonal in the sense that each pixel has an intrinsic grey scale (or tone) due to the natural attenuation characteristics of their twisted liquid crystals. Each pixel is held for the entire frame period ( 1/24 second) and sub-frames are not used.
Certain competing low frequency technologies are not tonal, but binary, such as the Texas Instruments Digital Light Processing (DLP) in which grey scale is produced by rapid on/off flashing of light from a tilted mirror within a sub-frame of a 1/24 second frame. Digital cinema DLP displays generally use three DLP micro-mirror devices, one each for red, blue, and green image components. If optical modulation (the on/off pattern) is changed for each repetition (i.e., within a sub-frame), then distortions can be intentionally introduced into camcorder captured video. Such techniques are the subject of U.S. Pat. No. 7,218,754 and U.S. Patent Application Publication No. US 2007/0180254 A1. For modulation in low frame rate binary displays, it is desirable to change the brightness of each pixel in some predetermined pattern throughout the duration of the frame period. In DLPs, this would mean manipulating pixel on/off values on a bit-by-bit basis. Unfortunately, in DLPs, bits can only be manipulated in groups so that even if each frame is loaded into memory as a bit pattern, there is no access to individual pixels, thereby limiting the amount of processing that can be done on a pixel by pixel basis.
In general, camcorder jamming in current low frequency analog/digital tonal/binary displays does not facilitate the addition of optical modulation patterns. Current display technologies, because of their low displayed frame rate, limit the maximum temporal modulation and greatly restrict the type of optical modulation waveform that may be carried by such a system.
Accordingly, what would be desirable, but has not yet been provided, are modulation techniques produced by cinema display hardware that can effectively defeat most if not all illegal copying of projected moving images using camcorders.